NO PLAYS EXCHANGED, 





=>R 1273 
.Z9 S7 
Sopy 1 



Beer's Edition 
i or Pltws « 



•p -"V 



1900 



HAMLET'S BRIDES. 




COPYWiGiHT, 1b89, BY WALTfcH H. BAKE.R & CO- 



9S ft 

I A. W. PINERO'S PLAYS. % 

i|V Uniformly Bound in Stiff Paper Covers, >Iy 

ijw Price, 50 cents each. i!c 

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THF AMAZON'S I A Ftfrcjcal Romance in Three Acts. P.vArthcr 
1 ran ^m/YZ.WlN.3. J w PrjlE&o. Seven male and five female char- 

— — — acters. Costumes, modern: scenerv, an exterior 

and an interior, not at all difficult. This admirable farce is too well known 
through its recent performance by the Lyceum Theatre Company, New Vork, to 
need description. It is especially recommended to young ladies' schools and 
colleges. (1895.) 



ft 
ft 

f 



The publication of the plays of this popular author, made feasible bytbe new 

Jj\ Copyright Act. under which bis valuable stage rights can be fully protected*. 

"|J enables us to offer to amateur actors a series of modern pieces of the highest 

Jj\ class, all of wbich have met with distinguished success in tbe leading English /AW 

If* ami American theatres, and most of which are singularly well adapted for aina- '5!* 

/A tear performance. This publication was originally intended for tbe benefit of ifAV 

^?" readers only, but tbe increasing demand for the plays for acting purposes has "* 

iAW far outrun their merely literary success. With tbe 'idea of placing this excel- ifAW 

KW lent series within the reach of the largest possible number of amateur (dubs, we *f* 

iAV have obtained authority to offer them for acting purposes at an author's roy- ifAV 

W altyof f$J 

/|\ Ten Dollars for Each Performance. ifji 

iii This rate does not apply to professional performances, for which terms will be }fkji 

"|* made known on application. fn 

ft ft 

ft 

ft 

t 

w 

f THE CABINET MINISTER. I i«K£#ite\gfci& 1 

\t'j ' and nine female characters. t|j 

yf Costumes, modern society : scenery, three interiors. A very amusing piece, in- Mr 

k|j< genious in construction, and brilliant in dialogue. (1892.) ^|j 

M' DANDY DTfTC I A Farce in Three Acts. By Arthcr W. Pjxero. \(f 

ik'j •""*• ^^ x *s **•**-* I Seven male, four female characters. Costumes, mod- ^|^ 

Mf ~ J ern : scenery, two interiors. This very amusing piece Mr 

wlf was anotlier success in the New York and Boston theatres, and has been ex- ^|> 

Mf tensively played from manuscript by amateurs, for whom it is in every respect Mr 

w|/ suited. It provides an unusual number of capital character parts, is very funny, t|j 

Mr and an excellent acting piece. Plays two hours and a half. (1893.) ' \ff 

S» THE HOBBY HORSE. I £. < tt*#&£&&*S52 W 

V|j ; acters. Scenerv, two interiors and an ex- si' M 

Mf tenor: costumes, modern. This piece is best known in this country through the \f/ 

^|^ admirable performance of Mr. John Hare, who produced it in all the principal sY' d 

Mf cities. Its story presents a clever satire of false philanthropy, and is full of \l/ 

^i^ interest and humor. Well adapted for amateurs, bv whom it has been success- ci'^ 

Mf fully acted. Plays two hours and a half. (1892.) ^J/ 

?K LADY BOUNTIFUL I A Fl *y : ' n Four Ac <i- Bv Arthur w. W 

\U ^^ U X p ^ UiN X irUL ' I Pixeko. Eight male and seven female char- \|> 

..I.. ; i acters. Costumes, modern; scenerv. four Mf 

114 interiors, not easy. A play of powerful sympathetic interest, \ little sombre in fcli 

• Z. key, but Dot unrelieved !>v humorous touches. (1892.) Mr 

W Sir* 



Hamlet's Brides 



A Shakespearean Burlesque in One Act 



By SARA HAWKS STERLING 



BOSTON 

WALTER H. BAKER & CO 

1 900 



TWOCOPIESRECElVEi 

Office of th 

FEB 17 19 

56683 copyright* 



Hamlet's Brides 



CHARACTERS 7 q <Z 



Hamlet, a princely widower. 
Portia, a haughty lawyer. 
Rosalind, a bicycling girl. 
Juliet, a flirtatious widow. 
Beatrice, an up-to-date damsel. 
Viola, a timid dove. 




1 ^7 



Copyright, 1900, by Walter H. Baker & Co, 



SECOND COPY, 






COSTUMES 



The burlesque may be given in modern costume, Hamlet 
wearing a dress-suit, and Rosalind, a bicycling skirt and 
jacket. It will be more effective, however, if the characters 
are dressed as follows : 

Hamlet. Black tights and doublet, black cloak, sword. 

Portia. Red or black lawyer cap and gown. 

Rosalind. A modern bicycling suit. 

Juliet. A white dress, of some thin, clinging material. 

Beatrice. Richly-colored silk or satin court-dress. 

Viola. Pale green or pink dress, thin and clinging to figure. 



PROPERTIES 

Doyly, work-basket, and embroidering materials for Viola. 
Book, watch, and if possible, a lorgnette, for Portia. Large 
handkerchief for Hamlet. Two small handkerchiefs for 
Rosalind. A moon of pasteboard and gilt paper for Juliet. 
Large book to represent hotel register. Table and chairs, ar- 
ranged as the action requires. 



Note. — If Hamlet speaks with a lisp throughout, the part 
will be still more effective. 



Hamlet's Brides, 



SCENE. — An ordinary parlor, entrances R. and l. Sofa at 
back, L. c. Table down r. with a large book upon it. Sev- 
eral chairs. Other furniture and decorations as space per- 
mits. Portia and Viola discovered seated, Portia reading 
at table r. c. Viola embroidering L. c. To them enters 
Juliet from r., running down c. 

Juliet. Say, girls, have you heard the news ? 

(Viola jumps, Portia closes her book majestically .) 

Portia. I do wish, Juliet, that if there is any news, you 
would not announce the fact in so startling a manner ! 

Viola (patting her side distractedly). Yes, so do I. You 
scared me so, that my heart is thumping yet. 

Juliet. Oh, bother, Viola, you're always talking about 
your heart. I got over hearts long ago. But, oh ! the news. 
Where are the others ? Here comes Rosalind, and Beatrice is 
with her, raging as usual ! 

Enter Beatrice and Rosalind, l. 

Beatrice. Well, I should just like to see a man have the 
effrontery to make love to me again ! 

Rosalind. No doubt you'd like to see it, dear, but you 
never will. You've fallen off dreadfully of late. And even if 
any one should be bold enough to attempt it, you couldn't 
manage matters any better than when you trapped poor Bene- 
dict. 

(They look angrily at each other. Juliet comes between 
them.) 

Juliet. Do stop fighting, girls, and listen. I've a piece 
of news. 

Portia. Pray tell us that wonderful piece of news. 

Juliet. Then listen, every one ! (They gather about her •.) 
A man has arrived at the hotel ! 



6 HAMLET S BRIDES. 

All {except Juliet, in a tone of disgust). Oh ! {They 
turn away from her.) 

Juliet. Why, what's the matter? I thought you'd be 
pleased. 

Portia {cru shingly). Pleased ! When we have each of 
us come to Salt Lake City, fresh from dissolving the odious 
bonds that marriage laid upon us ? Pleased ! When the mere 
sight of a man is a source of disgust to — well, to most of us, 
Mrs. Montague ! 

{All except Juliet make nods and gestures of approval dur- 
ing Portia's speech.) 

Juliet {injured). Oh, well, if you feel that way, of course 
there's no more to be said. m 

(Viola begins to sob, wiping her eyes on her doyly.) 

Beatrice. Why is that infant crying ? 

Viola. I'm thinking of my Orsy. Oh, Orsy, Orsy ! 
(Sobs.) 

Rosalind. Orsy ! W T ho's Orsy ! 

Portia. Orsino. Her husband, you know. 

Viola {sobbing at intervals). Yes/ he said that his marry- 
ing me was an awful mistake ! You remember that he wished 
to see me in my woman's weeds. When I wore them, he 
didn't like my appearance a bit. Then I put on doublet and 
hose again, just to please him, whereupon he said I was a New 
Woman, and would be riding a bicycle next ; and that nearly 
broke my heart ! {Sobs.) 

Rosalind. Pshaw ! Your mistake was in consenting to 
lay off your emblems of superiority. Now I never did. From 
the time Orly first made love to me, I always wore the breeches ! 
He's left me now. 

Viola. Oh, did he die ? 

Rosalind. Die ? No. He's gone into an insane asylum. 
The doctors — horrid wretches ! — said it was my tongue that 
drove him mad. 

Beatrice. As for me, I was glad to get rid of my Benny. 
He was always so rude to me ! I wanted to do the most talk- 
ing, of course, and that didn't suit him at all, selfish creature ! 
Such a long tongue as that man had ! At last, in desper- 
ation, I said, " Let's have a divorce." He had the impudence 
to reply, "With pleasure, my dear Lady Disdain." So we 
parted by mutual consent. 1 never want to see a horrid man 
again ! 



7 

Juliet. Oh, don't you? I'm sure I was awfully fond of 
my poor, dear Romeo; but I wouldn't mind at all having 
another lover, and marrying again. He was so foolish to take 
that poison, especially when that old dear, Friar Lawrence, had 
everything arranged so nicely. Well, anyway, I'm glad I 
didn't kill myself, as I intended. It would have been so un- 
comfortable, you know. 

Portia. Yes, how was it you didn't? I saw the account 
of both your death and Romeo's, headed "Tragedy in High 
Life," in all the morning papers. 

Juliet. Why, you know, I tried to stab myself with 
Romeo's dagger. The poor dear fellow was so hard up that it 
hadn't been sharpened for an age. Consequently, it was so 
dull that it didn't stick me at all. Of course, however, my 
grief and excitement caused me to remain in a dead faint for 
a long while. When I recovered, I came right straight off 
here. 

Portia. I, too, have had my matrimonial trials. As .you 
know, I am a lawyer, and have always been fond of intellectual 
pursuits. Bassy, I regret to say, knew not the joys of either 
law or intellect. This fact was the first little rift within the 
lute, and it kept growing wider and wider until at last we 
parted. It was on the question of women riding diamond 
frames that we finally agreed to differ. He said I should 
never ride one. I said I would. Enough ! We parted, and 
I console myself with intellectual pursuits. I must go now 
{looking at her watch), for I have an article to read in a scien- 
tific magazine on " The Theosophic Philology of Protoplasms." 

[Exit r. 

Beatrice. I want to look up the account of the latest 
divorce suit. Oh, how I love 'em ! [Exit l. 

Viola. I need some silk from my room to finish this 
doyly. Oh, how prettily I used to talk to Orsy about con- 
cealment preying like a worm i' the bud on damask cheek ; but 
now I work the buds on damask doylies ! [Exit r. 

(Juliet runs to entrances at r. and l. and looks out cau- 
tiously, then carefully examines the room, and finally 
approaches Rosalind, l. c.) 

Juliet. Nobody around except us ! Rosalind ? 
Rosalind. Well ? 

Juliet (insinuatingly). Would you object very much to 
seeing a man again? 

Rosalind. No. To tell you the truth, I'd rather enjoy 



8 hamlet's brides. 

it, although it was no use saying so while the others were 
around. 

Juliet. Hurrah ! I agree with you ! Let's try to . have 
some fun with this man. It's so dull here. Really, the moon- 
light is lovely, and it is perfectly wasted when there is no one 
swearing by the moon, and longing to be a glove upon your 
hand so as to kiss your cheek, and all that sort of thing. 

Rosalind. And it is always so much more fun to tease a 
man than a girl. I think girls are stupid. Do you know the 
new arrival's name ? 

Juliet. Let's look at the register. Here it is on the table. 
{They both bend over the book on the tabled) Oh, Rosy, he's a 
prince ! What do you think of that? He's from Denmark, 
the cold, cold north ! I wonder if he knows how to make 
love. 

Rosalind. We'll see. What's his name? H-a-m, ham ! 
Ham, how funny ! Oh, .no, here's some more ; H-a-m-1-e-t, 
Hamlet. Yes, he's a prince. Have you seen him ? Perhaps 
he has come to marry an American heiress. 

Juliet. Seen him? Yes, indeed, I have. He looks so 
sweetly romantic and melancholy. Goodness, Rosy, here he 
is. 

{They nudge each other, and Rosalind whispers to Juliet. 
Juliet nods and laughs, and then begins to rush about the 
stage wildly.) 

Rosalind {following her madly). What is it? What is it? 
Enter Hamlet, r., slowly. 

Juliet. Ow, ow ! Catch it, Rosy, catch it ! {Slapping at 
her face.) 

Rosalind. Oh, I can't ! ( Waving her hands at her 
wildly.) 

Hamlet {speaking with a lisp, and looking mildly aston- 
ished). Rest, rest, perturbed spirits, rest ! 

Rosalind (pausing an instant). It is all very well for you 
to stand there and speak calmly about our "refilling" but it 
would be much more to the purpose if you'd kill this horrid 
mosquito. Oh, Juliet, I believe it's on me now ! ( They both 
rush about again.) 

Hamlet. I own the soft impeachment. Allow me ! {He 
follows Rosalind r. c, where she pauses. Juliet stops l. 
c, Hamlet c.) Allow me! {He slaps Rosalind's cheek.) 
Now, have I done it, pat ! 



hamlet's brides. 17 

Juliet {pulling one made of pasteboard and gilt paper from 
the folds of her dress). Here ! (Aside.) I brought it for 
the occasion. A love-scene is nothing without a moon ! 

Hamlet. I swear by my sword ! 

Juliet. Oh, horrors, no ! By 'the moon ! 

Hamlet (resignedly). Very well, by the moon ! 

Juliet. All right, that's done ! Now go to Beatrice, quick. 
(Aside.) She's treated me fairly, so I'll give her a chance to 
flirt a little. 

Hamlet (as he crosses to Beatrice). I might as well have 
'em both. I've proposed to two others, and will have to run 
away, anyhow. 

Beatrice (as he reaches her). Oh, have you come back 
to me ? 

Hamlet. I love you, Beatrice. 

Beatrice. Can this be true ? 

Hamlet (for the third time repeating the handkerchief busi- 
ness used first in scene with Viola). That I love thee best, 
oh, most best, believe it ! (Aside, as he picks up handkerchief.) 
I might as well say it to the other one, and be done with it. 
(Returns to Juliet, and repeats handkerchief business for the 
fourth time.) That I love thee best, oh, most best, believe it ! 

( While Hamlet is on his knees to Juliet, enter Portia, hur- 
riedly, r. She comes down c. , and seizes him by the throat, 
before he has time to rise.) 

Portia. Murderer ! ! ! 

(Beatrice and Juliet rise hastily, and come on each side of 
Hamlet and Portia.) 

Beatrice. Be careful, Portia. 

Juliet. Don't be so rough ! 

Portia (excitedly to Hamlet). Matricide, unclicide, 
would-be suicide, at last I have thee ! (Fiercely to Beatrice 
and Juliet.) Hence, and let me deal with him ! Hence, I 
say ! 

Beatrice. We'll go for help. 

Juliet. Isn't she a vixen ? 

[Exeunt Beatrice and Juliet, l. 

Hamlet (rolling his eyes abjectly upward to Portia). Are 
you a lawyer ? 

Portia (keeping firm hold of his collar). Yes ! I take 
pride in saying, yes ! 

IT ami ft {beseechingly). Then save me ! What shall I do? 



1 8 hamlet's brides. 

I have proposed to four girls in one evening. How am I to 
get out of it ? Oh, help me ! 

Portia. That problem is easily solved. You are in Salt 
Lake City. 

Hamlet. What difference does that make ? 

Portia. All the difference in the world. Just turn Mor- 
mon, and marry every one ! 

Hamlet. Is it so ? Oh, my deliverer ! Am I allowed 
only four ? 

Portia. Oh, no ! You may marry an infinite number ! 

'Hamlet. Then, if you will kindly remove your lovely, lily- 
white hand from my unworthy neck, and allow me to rise from 
this very ungraceful position, I have a proposition to lay before 
you, oh, my deliverer ! 

(Portia releases him. He rises, and both exit, R.) 
. Enter Viola and Rosalind, l. 

Viola (sobbing). I'll never let a man propose to me again. 
Oh, the traitor ! 

Rosalind. Yes, he is. (Aside.) I'm so furious that that 
whining baby got ahead of me ! Well, I had him on my 
wheel before he spoke to anybody else, so now ! 

(They come dozun stage. Viola seats herself at table, and 
begins to embroider. Reenter Portia and Hamlet, r.) 

Hamlet. So you, too, will be my bride, oh, my deliverer ? 
Portia. Yes, I consent to your proposal. 

(They come down c. together.) 

Hamlet (repeating handkerchief business for the fifth time). 
That I love thee best, oh, most best, believe it ! (Rising. ) 
W T here are my other brides ? 

Rosalind. Your other brides ! What do you mean ? 

Enter Beatrice and Juliet, l. 

Hamlet. Are we not in Salt Lake City? Are we not under 
the heavenly shadow of Mormonism? Oh, blessed, blessed 
Brigham Young! "Oh, my Viola, come to my arms! Oh, 
my Beatrice, oh, my Rosalind, oh, my Juliet, oh, my Portia, 
here to my heart! (Standing c, he spreads out his arms. 
Viola falls on his neck. Beatrice and Rosalind are en- 
circled by one arm, Juliet and Portia by the other.) How I 
wish Ophelia had lived to see this day. Then I might have 



HAMLET S BRIDES. 1$ 

had six wives instead of only five ! Let us hence to the Tem- 
ple, then, my darlings, and we six shall be made one. That I 
love each one best, oh, most best, believe it ! 

{The five girls join hands in a ring and dance around Ham- 
let, singing as follows, to the air of " Oh, My Darling 
Clementine,' 11 or other popular air, while Hamlet stands 
in the middle, smiling at them seraphically :) 

" To the Temple we will hurry, 
To the Temple, let us go ! 
Hamlet's brides are his forever ; 
For not one could tell him, No ! " 



CURTAIN. 



A NEW PATRIOTIC PLAY. 



BROTHER AGAINST BROTHER. 

A Military Drama in Five Acts. 
By BERNARD FRANCIS MOORE. 

Author of "The Rough Rider," "Captain Jack," Etc. 

Nine male, two female characters. A stirring play of strong sym- 
pathetic interest turning upon incidents of the Civil War. The thousands 
who played " The Rough Rider," by the same author, will find a similar 
success in this piece, which is distinguished by the same qualities of 
humor and action. Two strong leading parts, Irish comedy, and a strong 
heavy part ; all other parts effective. Easy to stage, and perfectly suited 
for amateurs, for whom it was specially written. Costumes modern and 
military ; scenery simple but varied. Plays a full evening. 

Price 15 Cents. 



SYNOPSIS: 

ACT I.— The Bennett home. "That blamed Irishman." The coming 
struggle. "Yes or no." The first rebel captured. A soldier's wife. The 
traitor. A blow and its recoil. The declaration of war. Brother against 

BROTHER. 

ACT II.— The Union camp. The spy. The fortune of war. A secret 
move. In a tight place. Ladies in camp. Cornered. The dispatches. 
The capture. Face to face. 

ACT III.— The court-martial. The weight of evidence. Self-betrayed. 
Alabama Joe, the scout. A life at stake. The whole truth. The tie of 
blood. A brother's testimony. The prisoner's defence. "I am guilty." 
The fate of a spy. Death. 

ACT IV. — The prison cell. Alone with death. A surprise. True love. 
A chance of escape. A strange promise. Brothers and rivals. The trap. 
"The underground route." An impossible condition. "Then die like a dog." 
An interruption. Changing guard. "Now is your time." "I love my coun- 
try, but you are still my brother." The escape. 

ACT V.— Home again. The neglected farm. An Irish-American 
affair. Sentenced. "The first girl you meet." Living or dead. In dis- 
guise. "One slip of the tongue, and I am lost." A disagreable visitor. A 
message from the tomb. "Thank God ! he died like a man with his face to 
the foe." The cup and the lip. "Michael, you have saved my life." A trai- 
tor's death and a patriot's love. The end of all. 



An Old Maid's Wooing. 

A Drama in Two Acts. 

By flARTHA RU5SELL ORNE. 

Author of "The Country School," " A Limb o' the Law," Etc. 

Five male, four female characters. Scene, a single easy interior ; cos- 
tumes modern. An amusing little play of American rural life, full of 
genuine humor with touches of pathos. The dramatic interest is strong, 
but that of character is even stronger. Easy to play and all the parts 
effective. Acts one hour. 

Price 15 Cents. 



Sent, postpaid, on receipt of price, by 

BAKER, 5 HAMILTON PLACE, BOSTON, MASS. 



Jki THF MAGISTRATE I A Farce in Three Acts. By Artiti;r W. *!J 

fk\ l FULWUlKJlO 1 I Ui 1 -C* | p, xkko . Twelve male, four female char- fk\ 

jk aclers. Costumes, modern ; scenery, all \V 

ym% interior. The merits of this excellent and amusing piece, one of the most'popu- fm\ 

>Ty lar of its author's plays, are well attested by long and repeated runs in the fir 

f§\ principal American theatres. It is of the highest class of dramatic writing, and /|^ 

Viv is uproariously funny, and at the same time unexceptionable in tone. Its entire \:£ 

/•^ suitability for amateur performance has been shown by hundreds of such pro- #i% 

"fit (Mictions from manuscript during the past three years. Plays two hours and y k ? 

/J^ a half. (18B2.) /)\ 

ffS ft-nT TMHTHP TOT TR A Drama in Four Acts. By Arthur W. p|\ 

•»• UiL. 1>U1UIUWUJ Pinebo. Eight male and five female charac- ;TC 

%f^ TVTPQ FRR^T\/nTT-T ters; scenery, all interiors. This is a " prob- fl\ 

jki xVlxvD» JI.DJ_0.LVlx 1 11. j em "play continuing the series to which " The jlC 

rfj — ' Profligate" and "The Second Mrs. Tanqneray" fm\ 

jjX belong, and while strongly dramatic, and intensely interesting is not suited for ^TC 

Wjiy amateur performance, "it is recommended for Reading Clubs. (1895.) f|j 

i*C TI4T7 "DT? f\~7T 1C A Tin I A Play in Four Acts. By Artiur W. Pine- y k : 

Jl\ 1 Ull rKUrLlCjA 1 H. KO> j^even ma le and five female characters. /J\ 

$Z ' Scenery, three interiors, rather elaborate; *.v 

rl^ costumes, modern. This is a piece of serious interest, powerfully dramatic in #4^ 

jk movement, and tragic in its event. An admirable play, but not suited for a m a- \v 

/1\ teur performance. (1892.) fi\ 

'f\ TT-TT7 ^ri-TnnT MT^TPF^ f A Orcein 'Three Avts.'Bsr A RfmerR /|V 

A\ inC ' :) ^ nUULiV11,)1WaA W. Pinero. Kine male, seven fe- jli 

ffy ' ■ ■ ' male characters. Costumes, mod- m $% 

iflC ern ; scenery, three interiors, easily arranged. This ingenious and laughable jki 

^f 1 farce was played by Miss Rosina Vokes during her last season in America with w t m% 

jk\ great success." Its plot is amusing, its action rapid and full of incident, its dia- i*v 

'f* logue brilliant, and its scheme of character especially rich in quaint and humor- W t fj\ 

Jk\ ous types. The Hon. VereQueckett and Peggy are especially strong. The piece i*v 

^|J is in all respects suitable for amateurs. (1894.) ^|l 



* 
W 

SXlf formance. It is offered to Mr. Pinero's admirers among Hie reading public in 
a" answer to the demand which its wide discussion as an acted play has created. 
k|> <ISt>4.) Also in Cloth, $1.00. 



THE SECOND 
MRS. TANQUERAY. 



$ 

f 

"sWFFT T AVFTST'DF'R I A Comedy in Three Acts. By Arthur Vl/ 

i_» W X_iX_, X X_-.T_. V X_X ^ J_/X_XV» \rr Pr V1? ,,,, «n„on tiiqIo nr.,1 f/,nv fontuln V7. 



A Play in Four Acts. By Arthur W. 
Pinero. Eight male and five female char- 
acters. Costumes, modern ; scenery, three 
interiors. This well-known and powerful 
play is not well suited for amateur per- 



W. Pinero. Seven male and four female 



l»|«g — ** ' j >v. i-iJSEKO. seven ma le ami lour Temaie .». 

\l/ — — — — — — — — — — — — — — — J characters. Scene, a single interior, the %■/ 

same for all three acts; costumes, modern and fashionable. This well known 



_'i_> s ' UMe ,01 a " ' '"ee aci.s ; costumes, modern anu iasmonauie. l nis wen Known >4«. 

\ff and popular piece is admirably suited to amateur players, by whom it has been »B# 

hk'd orte " given during the last few years. Its story is strongly sympathetic, and its TIC 

W# comedy interest abundant and strong. (1893.) %l# 






• THE TIMES I A Comedy in Four Acts. By Arthur W. Ptxero. Six 

M/ "^ xxvxx_*j« male and seven female characters. Scene, a single ele- 

JK —————————» gant interior; costumes, modern and fashionable. An 

\m£ entertaining piece, of strong dramatic interest and admirable satirical humor, tfii 

W (1892.) W 

?K THF WFAKFR SFX I A Comedy in Three Acts. By Arthur W 

\B/ XXL1 - W X-.rv tVJ^.xX Q£L^V« W. Pinero. Eight male and eight female \y 

I/-* ; " — ~ characters. Costumes, modern : scenery, ;!' 

\l# two interiors, not difficult. This very amusing comedy was a popular feature of ^1/ 

2Y"d tlie re " errf,ire of Mr. and Mrs. Kendal in this country. It presents a plot of JK 

%l# strong dramah'c interest, and its incidental satire of " AVoman's Rights'" em- %•« 

?K ploys some admirably bumorons characters, and inspires many very clever lines. ;V- 

%■# Its lending characters are unusually even in strength and prominence, which %■/ 

V/. makes it a very satisfactory piece for amateurs. (1894.) TIC 

\!/ W 



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^•^•^•>w^>*.->w^-^^ W^-* II II III II 
NEW OPERETTAS FOR C] '■»'• 

EDITH'S DREAM, 

Sit ©prrrtta for (JTijtltirrn. 



Words by MARGARET FEZANDIE and EDGAR MORETTE. 
Music by EUGENE FEZANDIE, Jr. 



Eleven characters, girls and boysj or all girls, as preferred ; ten or more addi- 
tional for chorus. Scenery unnecessary; costumes, pretty and fanciful, but 
easily arranged at home. This admirable little piece is printed complete with 
music. It is very tuneful and gracefully imagined, and is strongly recommended 
for private theatricals or for schools. It is particularly well suited for the latter 
use, as it deals whimsically with the question of youthful study, inculcating, 
however, an excellent moral. 



Price 



35 cents. 



ODD OPERASHEVEN TIDE 

A Collection of Short and Simple Musical 
Entertainments for Children. 

By MRS. G. N. BORDMAN* 



This collection provides a simple operetta, a fairy opera, a picturesque motion 
song, a quaint musical pantomime, a pretty musical sketch, and two original 
humorous recitations for children, complete, with all the music, and full instruc- 
tions for performance. The music is tuneful ami simple, and is specially written 
with the tastes and limitations of. children in view. The solos are easily learned 
and sung, and all the choruses are written for voices in unison. The collection 
is strongly recommended for its simplicity and perfect practicability. Neither 
stage nor scenery is demanded, nor any other requirements that cannot be met 
without trouble by the equipment of the ordinary hall or church vestry, and the 
zeal of the most economical committee of arrangements. 



Price 



CONTENTS. 



50 cents. 



A Glimpse of the Brownies. A 

Musical Sketch for Children. Any 
number of boys. 

Market Day. An Operetta for Young 
People. Seven speaking parts and 
chorus. 

Queen Flora's Day Dream. An 
Operetta for Children. Six speak- 
ing parts and chorus. 



The Boating Part v. A Musical 
Sketch for Little Children. Thirty 
boys and girls. 

Six ^Little Grandmas. A Musical 
Pantomime for very Little Children. 
Six very little girls. 

Jimmy Crow. A Kecitatiou for a 
Little Girl. 

A House in the Moon. A Recita- 
tion for a Child. 



7* 

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